Arts and Crafts Movement 1850 - 1900

Patricia Sumod

Arts and Crafts was an international design movement that

flourished between 1860 and 1910, especially in the second half of that period, continuing its influence until the 1930s. This movement was a reaction against the Industrial Revolution. The development of the steam engine by James Watt in 1765 led to the mechanization of industry, agriculture and transportation and changed the life of the working man in Britain. The cities and towns grew to accommodate the expanding industries and the influx of workers from the countryside looking for employment. Living standards gradually deteriorated and industrialization left people with a sense that their life had changed for the worst. Many had sacrificed a rural lifestyle 'in England's green and pleasant land' for the sake of a job in the 'dark Satanic mills' of the Industrial Revolution. As a result, they lost that feeling of security and belonging which comes from living in smaller communities It was led by the artist and writer William Morris (18341896) and the architect Charles Voysey (1857-1941) during the 1860s,and was inspired by the writings of John Ruskin (18191900) and Augustus Pugin (1812-1852). It developed first and most fully in the British Isles, but spread to Europe and North America. It was largely a reaction against the impoverished state of the decorative arts at the time and the conditions in which they were produced. It stood for traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration. It advocated economic and social reform and has been said to be essentially antiindustrial.
Patricia Sumod

Arts and Crafts Movement 1850 - 1900

William Morris - 'Tulip and Willow' Pencil and Water-colour sketch for print design, 1873

The Arts and Crafts style started as a search for aesthetic design and decoration and a reaction against the styles that were developed by machine-production.
Arts and Crafts objects were simple in form, without unnecessary decoration, and how they were constructed was often still visible. They tended to emphasize the qualities of the materials used ("truth to material"). They often had patterns inspired by British flora and fauna and used the vernacular, or domestic, traditions of the British countryside. Several designer-makers established workshops in rural areas and revived old techniques. They were influenced by the Gothic Revival (18301880) and were interested in medieval styles, using bold forms and strong colors based on medieval designs. They claimed to believe in the moral purpose of art, true to material, structure and function which had also been advocated by A.W.N. Pugin (18121852), an exponent of the Gothic Revival.

Arts and Crafts Movement 1850 - 1900

William Morris - 'Windrush' Pencil and Watercolour sketch for textile design, 1881-83

The first page of The Nature of Gothic by John Ruskin, printed by William Morris at the Kelmscott Press during 1892 and set in the Golden type, inspired by the 15th century printer Nicolas Jenson.

William Morris - 'Trellis' Wallpaper Design, 1864

The Arts and Crafts style was partly also a reaction against the style of many of the items shown in the Great Exhibition of 1851, which were ornate, artificial and ignored the qualities of the materials used. The art historian Nikolaus Pevsner has said that exhibits in the Great Exhibition showed "ignorance of that basic need in creating patterns, the integrity of the surface" and "vulgarity in detail.
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Arts and Crafts Movement - 1850 - 1900

Design reform began with the organizers of the Exhibition itself, Henry Cole (18081882), Owen Jones (18091874), Matthew Digby Wyatt (1820 1877) and Richard Redgrave (18041888). Jones, for example, declared that "Ornament ... must be secondary to the thing decorated", that there must be "fitness in the ornament to the thing ornamented", and that wallpapers and carpets must not have any patterns "suggestive of anything but a level or plain".
These ideas were adopted by William Morris. Where a fabric or wallpaper in the Great Exhibition might be decorated with a natural motif made to look as real as possible, a Morris & Co. wallpaper, like the Artichoke design illustrated, would use a flat and simplified natural motif. In order to express the beauty of craft, some products were deliberately left slightly unfinished, resulting in a certain rustic and robust effect.

"Artichoke" wallpaper, by John Henry Dearle for William Morris & Co., circa 1897 (Victoria and Albert Museum).

Patricia Sumod

Arts and Crafts Movement 1850 - 1900

By the end of the nineteenth century, Arts and Crafts ideals had influenced architecture, painting, sculpture, graphics, illustration, book making and photography, domestic design and the decorative arts, including furniture and woodwork, stained glass, leatherwork, lace-making, embroidery, rug making and weaving, jewelry and metalwork, enameling and ceramics. Some designers, such as Christopher Dresser (1834-1904) whose work still looks remarkably modern, started to reject the limitations of the Arts and Crafts ideals and positively embrace the techniques of industrial manufacturing. This was the start of a design evolution that would eventually culminate in the foundation of the Bauhaus school of art and design which became the prototype for art education in the 20th century.

Sedding (1838-1891) was an inventive and admired architect working in the Arts and Crafts manner, mostly as a church architect. He also designed metalwork, wallpaper, and embroidery, and later, gardens. Patricia Sumod

Arts and Crafts Movement 1850 - 1900 This beautiful tile has the vibrant colors used in the Arts & Crafts movement and the leafy natural background that was also widely used. This artist worked with William Morris, which shows in the composition of the image, and the medieval influence. He was also inspired by Persian designs which you can see in the paisley-esque shape of the flowers.

William de Morgan Ceramic tile produced between 1839-1917

sourced from worldcollectorsnet.com

Retro influenced poster uses an updated border design inspired from this movement. However the illustration is more like Art Nouveau, a style that was popular around the turn of the century.
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Arts and Crafts Movement 1850 - 1900

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Influences of this movement can be seen here on the Morris chair designed by architect Philip Webb. The fabric and the woodwork combine to give this design an oriental feel.

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A typical Arts & Crafts interior. Although too ornamental for contemporary standards, one can see more restrain and harmony as compared to the Victorian styles of opulence and excess.

Patricia Sumod

Arts and Crafts Movement 1850 - 1900

The Arts & Crafts style emphasized on proportion, simplicity of form, fitness, functionality, honesty to materials and enhancement of natural textures. This chair reveals the above qualities. The woodword has emphasis in its engineering and construction rather than just being ornamental.

Work of Frank Lloyd Wright, influenced by the Arts & Crafts Movement. Every element in the dining room, from the carpet to the lights, the art-glass windows was designed by him.

Patricia Sumod

Arts and Crafts Movement 1850 - 1900

Morris designed carpet, textiles and wallpaper. His love for patterns and textures show through this example inspired by medieval motifs. The dominant decorative form is natural forms inspired from plants. Morris was popular for his ability to create balance and harmony within complexity.

This living room embodies the Arts & Crafts ideal of design unity also known as Geasamtkunstwerk (German a total work of art). Followers of this movement vowed to destroy the commercial system. The result was a celebration of the expressive potential in all art forms, thus restoring the dignity of even the most humble worker.

Patricia Sumod

The Great Exhibition

Crystal Palace Museum
The Great Exhibition of the Works of Industry of all Nations or Great Exhibition, sometimes referred to as the Crystal Palace Exhibition in reference to the temporary structure in which it was held, was an international exhibition that took place in Hyde Park, London, England, from 1 May to 15 October 1851. It was the first in a series of World's Fair exhibitions of culture and industry that were to become a popular 19th century feature. The Great Exhibition was organized by Henry Cole and Prince Albert of Saxe-Coburg and Gotha, the spouse of the reigning monarch, Victoria. It was attended by numerous notable figures of the time, including Charles Darwin, members of the Orlanist Royal Family and the writers Charlotte Bront,

Arts and Crafts Movement 1850 - 1900

In 1851 Great Britain was arguably the leader of the industrial revolution and feeling very secure in that ideal. The Great Exhibition of 1851 in London was conceived to symbolize this industrial, military and economic superiority of Great Britain.

Grand Panorama of the Sumod Great Exhibition of 1851 Portion of the South Transept from The Patricia 10 Illustrated London News. Image scan and text by Philip V. Allingham.

The Great Exhibition Crystal Palace Museum

The British also felt that it was important to show their achievements right alongside those of "less civilized" countries. The prevailing attitude in England at the time was ripe for the somewhat arrogant parading of accomplishments. Many felt secure, economically and politically, and Queen Victoria was eager to reinforce the feeling of contentment with her reign. It was during the mid-1850s that the word "Victorian" began to be employed to express a new selfconsciousness, both in relation to the nation and to the period through which it was passing. The exhibition was also a triumph for Victoria's German husband, Albert, whom she had married in 1840.

Arts and Crafts Movement 1850 1900

Stained Glass Gallery at the Great Exhibition of 1851..

iron

The Crystal Palace was originally designed by Sir Joseph Paxton in only 10 days and was a huge goliath with over a million feet of glass. It was important that the building used to showcase these achievements be grandiose and innovative. Over 13,000 exhibits were displayed and viewed by over 6,200,000 visitors to the exhibition. The millions of visitors that journeyed to the Great Exhibition of 1851 marveled at the industrial revolution that was propelling Britain into the greatest power of the time.
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Among the 13,000 exhibits from all around the world were the Jacquard loom, an envelope machine, tools, kitchen appliances, steel-making displays and a reaping machine from the United States. The objects on display came from all parts of the world, including India and the countries with recent white settlements, such as Australia and New Zealand, that constituted the new empire. Many of the visitors who flocked to London came from European cities. The profits from the event allowed for the foundation of public works such as the Albert Hall, the Science Museum, the National History Museum and the Victoria and Albert Museum. This "bigger and better" building was divided into a series of courts depicting the history of art and architecture from ancient Egypt through the Renaissance, as well as exhibits from industry and the natural world. Major concerts were held in the Palace's huge arched Centre Transept, which also contained the world's largest organ. The Centre Transept also housed a circus and was the scene of daring feats by world famous acts such as the tightrope walker Blondin. National exhibitions were also staged within its glass and iron walls, including the world's first aeronautical exhibition (held in 1868) and the first national motor show, plus cat shows, dog shows, pigeon shows, honey, flower and other shows.

The Great Exhibition Arts and Crafts Movement Crystal Palace Museum1850 1900

The Crystal Palace itself was almost outshone by the park in which it stood, which contained a magnificent series of fountains, comprising almost 12,000 individual jets. The largest of these threw water to a height of 250ft. Some 120,000 gallons of water flowed through the system when it Patricia Sumod was in full play.

Elias Howe's sewing machine, c.1846

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Bell's Osborne telephone, 1878

Harrison Power loom from the Great Exhibition, 1851

Edison's filament lamp, 1879

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Henry Ford Ford Model T, 1916

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The Great Exhibition Crystal Palace Museum After the Great Exhibition closed, the Crystal Palace was moved to Sydenham Hill in South London and reconstructed in what was, in effect, a 200 acre Victorian theme park. The new Crystal Palace park at Sydenham was opened by Queen Victoria on June 10th, 1854. In 1911, the year of King George V's coronation, the Crystal Palace was home to the Festival of Empire. Three-quarter size models of the parliament buildings of Empire and Commonwealth countries were erected in the grounds to contain exhibits of each country's products. The Crystal Palace was destroyed by fire in 1936. This picture shows the damage to the palace in an earlier fire (30th December, 1866) when the North Transept was destroyed, and never rebuilt.

Arts and Crafts Movement 1850 1900

Results? Why, man, I have gotten lots of results! If I find 10,000 ways something won't work, I haven't failed. I am not discouraged, because every wrong attempt discarded is often a step forward....
- Thomas Edison

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The Crystal Palace was destroyed by fire on November 30th 1936, following which the area lost much of its focus and began to decline. But many of the most important events in the history of the Crystal Palace took place in the grounds, which retain much of their original overall layout today and are a Grade II listed historic park. Thus, for 140 years, Crystal Palace park has been the scene of innumerable contributions to the nation's social, scientific and sporting history. 111111

Arts and Crafts Movement 1850 1900 The Great Exhibition Crystal Palace Museum

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ART NOUVEAU 1890 - 1905

The style of an era does not mean specific forms in a specific form of art; each form is just one of the many symbols of life within, each art form is a mere contribution to the style. Yet a style is the symbol of an overall feeling, of an eras attitude to life and is visible within the universe of all the arts.

PETER BEHRENS

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 Art Nouveau is an international philosophy and style of art, architecture and applied artespecially the decorative artsthat were most popular during 18901910.[3] The name "Art Nouveau" is French for "new art".

It is known also as Jugendstil, German for "youth style", named after the magazine Jugend, which promoted it, as Secession in Austria and Hungary after the Viennese group of artists, and, in Italy, as Stile Liberty from the department store in London, Liberty & Co., which popularized the style.
A reaction to academic art of the 19th century, it was inspired by natural forms and structures, not only in flowers and plants but also in curved lines. Architects tried to harmonize with the natural environment. It is also considered a philosophy of design of furniture, which was designed according to the whole building and made part of ordinary life.

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Art Nouveau defines the elegant, unified style that flourished from the early 1880s to the beginning of World War II. At this time industrial revolution and machine age was already in full swing. Origin can be traced to England. This movement brought together applied arts, architecture and decorations of all sorts. Characterized by ornamental, sinuous lines, Art Nouveau was a highly original style, based on natural flora and fauna. The unique work and craftsmanship of individual artists were the hallmarks of this style, which provided a transition between abundance of Victorian history and sleek functionality of modernism. At its height Art Nouveau was popular in the 1900s in Europe and the US which spread to the entire globe. Many contradictions were put as the quality of work being done across the globe was very varied. Some of the most popular isms like the Cubism, Fauvism and Expressionism began at this time.
Patricia Sumod

The style was influenced strongly by Czech artist Alphonse Mucha, when he produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou. It popularized the new artistic style and its creator to the citizens of Paris. Initially named Style Mucha, (Mucha Style), his style soon became known as Art 18 Nouveau.

Art Nouveau was most popular in Europe, but its influence was global. Hence, it is known for its various appearances with frequent localized tendencies. Bud ( symbol of new growth and life) exotic plants with long stems and pale flowers, lilies and water lilies. Oriental motifs such as chrysanthemums, dragonflies, bamboo, irises. Images of women with flowing long hair. Influenced by Japanese techniques.

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In France, Hector Guimard's Paris metro entrances were of art nouveau style and Emile Gall practiced the style in Nancy, France. Victor Horta had a decisive effect on architecture in Belgium. Magazines like Jugend helped publicize the style in Germany, especially as a graphic art form, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary.

Two of several cover illustrations by Hans Christiansen (18661945) for 1898 issues of Jugend magazine. Patricia Sumod

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Hector Guimard's Paris metro entrances

Victor Horta architecture, Belgium

Joseph Maria Olbrich, Austrian, 1867 1908. Vienna Secession Building, 1897 1898. Photography by C. H. Bastin and J. Evrard, Brussels

Born in Nancy, France, in 1846, Emile Gall is considered one of the most outstanding glass artists of his time .

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ARCHITECTURE Casa Batllo by Antonio Gaudi

Casa Mila by Antonio Gaudi

InteriorsTassel house done by Antonio Gaudi

Patricia Sumod
Carson and Peirre Scott and Co.

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Art Nouveau was also a style of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alphonse Mucha, Ren Lalique, Antoni Gaud, Aubrey Beardsley, Pierre Bonnard, Paul Gaugin, Edvard Munch, Henri de Toulouse-Lautrec, and Louis Comfort Tiffany, each of whom interpreted it in their own manner. In the field of art it is often said that Art Nouveau gave the start to movements like Cubism, Fauvism and Expressionism.

Madonna Edvard Munch

Ren Lalique, French, 1860 - 1945 Dragonfly woman corsage ornament, 1897 - 1898 gold, enamel, chrysoprase, moonstones, and diamonds,

Louis Comfort Tiffany was born in 1848 to a jewelry company owner, Patricia Sumod and is most renowned for his Art Nouveau style stained glass.

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Henri Toulouse Lautrec

Gustav Klimt, - The Kiss

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Paul Gaugin The Swineherd, Brittany 1888 (180 Kb); Oil on canvas

Patricia Sumod Pierre Bonnard Model in Backlight

Edvard Munch. The Scream (1893

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John and Salome Aubrey Beardsley, 1872-1898

Katsushika Hakusai

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Art Nouveau was and is an avant-garde movement of the period in historical and academic perspectives. Art Nouveau artists wished to blur the lines between famous and minor artists, and unifying all arts, and unifying art with everyday human life in essence, the art of the period became part of the architecture, placards, and jewelry in an attempt to combine life and art. Although Art Nouveau was replaced by 20th-century modernist styles, it is considered now as an important transition between the historicism of Neoclassicism and modernism. Furthermore, Art Nouveau monuments are now recognized by UNESCO with their World Heritage List as significant contributions to cultural heritage.

The unity of art and life was the declared aim of Art Nouveau, it was on this basis of shared ideas and ideals that these artists from varied fields of art strived to achieve homogeneity of expression not in uniformity but in variety.
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The Edwardian Period

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The Edwardian era or Edwardian period in the United Kingdom is the period covering the reign of King Edward VII, 1901 to 1910. The death of Queen Victoria in January 1901 and the succession of her son Edward marked the end of the Victorian era. King Edward was the leader of a fashionable elite that set a style influenced by the art and fashions of Continental Europe. The era was marked by significant shifts in politics as sections of society that had been largely excluded from wielding power in the past, such as common laborers and women, became increasingly politicized. The Edwardian period is sometimes extended beyond Edward's death in 1910 to include the years up to the sinking of the RMS Titanic in 1912, the start of World War I in 1914, the end of hostilities with Germany in 1918, or the signing of the Treaty of Versailles in 1919. The Edwardian era was a period during which the British class system was very rigid. Economic and social changes created an environment in which there was more social mobility. Such changes included rising interest in socialism, attention to the plight of the poor and the status of women, including the issue of women's suffrage, together with increased economic opportunities as a result of rapid industrialization.

19011910

King Edward VII, after whom the Edwardian period is named

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The Edwardian Era corresponds to The Belle poque or La Belle poque (French for "Beautiful Era") was a period in European social history that began during the late 19th century and lasted until World War I. Occurring during the era of the French Third Republic and the German Empire, it was a period characterized by optimism and new technological and medical discoveries. The Belle poque was named in retrospect, when it began to be considered a "golden age" when compared to the horrors of World War I. In the newly rich United States, emerging from the Panic of 1873, the comparable era was dubbed the Gilded Age. In the United Kingdom, the Belle poque overlapped with the late Victorian era and the Edwardian era.

1903 Cadillac Model A

Inventions that are noteworthy from this era include the perfection of lightly sprung, noiseless carriages in various fashionable forms, which were superseded towards the end of the era by the automobile, which was for its first decade a luxurious experiment for the elite class. The telephone joined the telegraph as a vehicle for rapid communication, and electric light began to supersede gas lighting. The phonograph and the cinematography were embraced, the aeroplane remained a fascinating experiment. It was during this era that biologists and physicians finally came to understand the germ theory of disease, and the field of bacteriology was established. Max Planck, Albert Einstein, Nikola Tesla, and Niels Bohr initiated modern physics. To recognize many of the great advances made in science in this era, the Nobel Prizes were established for physics, chemistry, and physiology or medicine. Patricia Sumod 30

Fashion during the Edwardian Era 19001910

European and European-influenced countries continued the long elegant lines of the 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment of fashionable women.

With the decline of the bustle, sleeves began to increase in size and the 1830s silhouette of an hourglass shape became popular again. The fashionable silhouette in the early 1900s was that of a confident woman, with full low chest and curvy hips. The "health corset" of this period removed pressure from the abdomen and created an S-curve silhouette.
In 1897, the silhouette slimmed and elongated by a considerable amount. Blouses and dresses were full in front and puffed into a "pigeon breast" shape of the early 20th century that looked over the narrow waist, which sloped from back to front and was often accented with a sash or belt. Necklines were supported by very high Patricia bonedSumod collars.

1908 was the era of a style called the Gibson Girl heavy bust and swirling skirts.

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Gibson Girl Illustrated by Charles Dana Gibson

Patricia Sumod

Belgian born Camille Clifford won a magazine competion in the early 1900s to find a living version of the famous Gibson Girl illustrations created by Charles Dana Gibson. The Gibson girl was considered to epitomise all that was feminine beauty in the Edwardian era. With an exaggerated hourglass figure and her hair piled on top of her head she was portrayed being equal to men.
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By 1895 the leg of mutton sleeves swelled to gigantic proportions and were also used on dcollet evening dresses. The size of the sleeves was highlighted by the comparison of the tiny sash or belted waist against the simple gored skirt that flared out all round to balance the massive sleeve heads. In 1897, the silhouette slimmed and elongated by a considerable amount. Blouses and dresses were full in front and puffed into a "pigeon breast" or monobosom shape of the early 20th century that looked over the narrow waist, which sloped from back to front and was often accented with a sash or belt. Necklines were supported by very high boned collars. Skirts brushed the floor, often with a train, even for day dresses, in mid-decade. Around 1908, the fashion houses of Paris began to show a new silhouette, with a thicker waist, flatter bust, and narrower hips. By the end of the decade the most fashionable skirts cleared the floor and approached the ankle. The overall silhouette narrowed and straightened, beginning a trend that would continue into the years leading up to the Great War.

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This decade marked the beginning of Parisian haute couture as the authority of styles and silhouettes for women of all classes. Designers sent fashion models or mannequins to the Longchamp races wearing the latest styles, and fashion photographs identified the creators of individual gowns. In 1908, a new silhouette emerged from Callot Soeurs, Vionnet at the house of Doucet, and most importantly, Paul Poiret. The styles were variously called Merveilleuse, Dirctoire, and Empire after the fashions of the turn of the nineteenth century, which showed in their narrow skirts and raised waistlines.

The new styles featured form-fitting gowns with high waists, or ankle-length skirts and long tunic-like jackets, and required a different "straight line" corset. The Paris correspondent for Vogue described this new look as "straighter and straighter ... less bust, less hips, and more waist...how slim, how graceful, how elegant...!"
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